[NOTE: For a much deeper dive into the whole story, please check out the “How NOT To Make A Movie Podcast: The Making Of Bordello Of Blood” either via the link above or from wherever you go to find the podcasts you love!]
Heroes run TOWARD burning buildings, bent on saving people. Zeroes, on the other hand, don’t. “Actor” Sylvester Stallone has, it seems, very recently paid $200,000 to Donald Trump to become a card-carrying “member” of Trump’s Mar-A-Lago Old Pervert’s Club. Imagine surveying the landscape post insurrection and choosing to side with insurrection and bullshit and The Big Lie. This is Rocky — BEFORE he finds his soul in Adrienne’s eyes and STOPS being some low level mob boss’s leg breaker. The real Sly Stallone has always been THIS Rocky — the corrupt goombah looking for a feather bed somewhere in the mob structure. Now, I’ve never met Stallone in person. But I feel like I have because our lives intertwined almost every day while I was making the movie “Bordello Of Blood” in Vancouver, British Columbia while Stallone was making a movie called “Assassins” just across the border in Seattle. Our connection was my actress Angie Everheart who — at the time — also was Stallone’s fiancé. Spoiler Alert: Stallone treated Angie horribly. He cheated on her relentlessly — which I know because Stallone tried to get my production unit to help him do it.
“Bordello Of Blood” was the second of what was supposed to be a trilogy of “Tales From The Crypt” branded horror movies, a deal that arose after my then partner Gil Adler and I took over running the show going into its third season (1992). That was supposed to be Tales’ last season; HBO felt the show had run its course but Gil and I turned the franchise around. In particular, we reinvented the Crypt Keeper which, in turn, reinvigorated the show. We ended up running for another four seasons; part of that surge in the franchise’s popularity at the time was a three picture feature deal at Universal Studios. “Tales From The Crypt Presents Demon Knight” was the first feature we produced. It’s a solid, well-made movie — directed by the incredibly talented Ernest Dickerson — about a group of people trapped in a remote decommissioned church by a charismatic demon played by the also incredibly talented Billy Zane. After “Demon Knight’s” success, we set out to make our second Tales feature — which, initially, was going to be a nuanced, character-driven, psychological horror piece set in New Orleans. Circumstances, greed and a deal that had nothing to do with us interceded however and Universal pulled the plug on “Dead Easy”, the movie we were weeks away from shooting and, instead, assigned us the task of making “Bordello Of Blood” — a romp about vampire hookers living in the basement of a funeral home.
On paper, “Bordello” sounds great — if horror movies are your thing. But, as with most things in life, you still have to DO the thing to actually make it succeed. We didn’t so much “do” Bordello as Bordello “did” us. When you make movies for completely inorganic reasons — because of a deal rather than because you want to tell a particular story — you can’t be surprised if bad things happen and keep happening. That’s the story of the making of “Bordello Of Blood”. Every day making that movie was stupider than the day before it. When I think of the accumulated talent of the named filmmakers (my executive producers on Tales were Robert Zemeckis, Joel Silver, Richard Donner and Walter Hill — some of the biggest movie makers EVER), it boggles my mind that we made so many silly, expensive, amateurish mistakes while making the movie.
One of our earliest amateurish mistakes was casting our villain.
Now, understand: every single one of us set Angie Everheart up to fail (which she did not). She acquits herself admirably. She brings everything she has to the job and she should be proud of her work. The movie has fans — and so does she. But… Angie’s miscast. She just is. Horror movies are all about the villain. How you cast Freddy Krueger is vital. “Demon Knight” works mostly because Billy Zane fills every frame he’s in with fun and menace. He was an experienced film actor when we cast him; all that experience helped because, frankly, the script was meh. Billy made a dogmatic part his (the rules behind our story’s mythology still baffle me and I helped write them). Angie didn’t because she couldn’t. In her defense, the part was even less “written”. She, too, was playing a monster beautiful on the outside, not-so-beautiful on the inside. While Billy had a pool of menace inside him, Angie did not. That’s the rub — she didn’t because she’s a super lovely person — on the inside!
Over the course of my career, I’ve cast hundreds of actors. I don’t think I’ve ever cast an actor to “act”. I’ve never wanted them to “act”. I’ve wanted them “to be”. In film acting, the camera sees everything — even things the actor doesn’t intend an audience to see. The harder they try to “act away” those things, the more “actory” their performance becomes and more the story as a whole suffers. Better to hire actors who, in some way, are like the character. That’s what most casting really is — hiring actors who are enough LIKE their characters that the audience won’t bump on them playing the part. What makes great actors great is their honesty, courage and willingness to be that honest for the sake of a story and an audience. The more real actors seem, the better they serve the story they’re part of. So — we hire actors “to be” and not “to act”.
Hiring Angie and expecting her “to be” Lilith (her character) was unfair. Originally, Gil and I wanted Robin Givens to play Lilith. Robin, we’d been told, could be tricky to work with. We didn’t care about that — FFS, we worked for Joel Silver — one of the most notoriously difficult people in Hollywood. Nothing Robin did could equal Joel. Also, instead of Dennis Miller (who plays the lead), we wanted Danny Baldwin. But Joel insisted on casting our three leads himself — his prerogative as the executive producer. I could devote a whole book to my “Dennis Miller Experience”. Dennis is a talented man. He’s very smart and wickedly funny. But, he’s deeply unhappy and seems determined to make everyone around him equally unhappy. He’s a bully.
At the time that we were casting “Bordello”, Joel had a movie awaiting release: “Fair Game” starring Cindy Crawford. Mostly a Big Action Movie producer, Joel was convinced that “Super Models Starring In Movies” was the next, big Hollywood trend that he, Joel, was inventing. “Fair Game” ended up bombing horribly — in part because Cindy Crawford is a very talented model but not a talented actress. So — when the idea of Angie came up — Angie, at the time, was a well-known, well-respected and sought after super model — it wasn’t entirely insane. But it wasn’t sound casting either. And Angie’s name came up only because her fiancé at the time — Stallone — was already working for Joel on “Assassins”.
We shot Bordello in Vancouver rather than LA because we were running away from the IA — the union that most of our crew belonged to. Joel was in a perpetual battle with the IA. While our crew was all union, their deal with us was “non-union” because, though we were one of HBO’s most popular shows, our budgets were tiny (by Hollywood standards). Some months before we started working on Bordello, the IA had struck another of our sets, shutting it down. In the childish tit-for-tat, Joel felt it was his turn to be the bigger asshole, so he pulled the movie out of LA and sent us north to BC. Never mind that it was June.
Thing is with horror movies? Night time is prime time. Scary things seem scarier in the dark. One thing you have very little of that far north in summer? DARK. Oh, sure, there’s a nighttime during summer — but it’s only a few hours. In Vancouver in July (when we were actually shooting), the sun doesn’t disappear from the sky until gone ten pm and the first traces of dawn appear in the sky around 2:30 am. That gives you four and a half hours of darkness in a nine to twelve hour shooting day. It makes no sense. Why on earth would you do such a thing — go make a movie somewhere antithetical to the movie you’re making?
Because we were going to be in Vancouver, Stallone apparently saw an opening. He began to needle Joel on the “Assassins” set in Seattle to hire his fiancé (he called her his girlfriend in related conversations) not just to “be” in our movie, but to star in it — as the villain. That was Sylvester Stallone’s idea for “Bordello Of Blood” — and damn if we didn’t do it! When Joel first approached us (“Guys, guys! I have a great idea — Angie Everheart as the villain in your movie!”), Gil and I balked immediately (“What? No, Joel, please don’t do that — we’ve already read Robin Givens and she’s great!”). Joel persisted though (because Stallone persisted).
Trying to find another voice that would appeal to Joel, Gil and I called Billy Friedkin. Billy had directed an episode of Tales the previous season and we’d had a great experience working with Billy. He had just directed Angie in a small role in his thriller “Jade”. “How is Angie as an actress — for our movie,” we asked Billy. We knew the role she’d played in “Jade” was small and, for Angie, very close to home (where she could “be” rather than “act”). “She’s a very nice person,” Billy told us — code for “she’s not right for the part”.
We took that professional assessment to Joel. No dice. “How about we screen test her!” Gil suggested. That way, Sly would be able to see it for himself. As someone who loved Angie enough to want to marry her, surely Stallone would come to his senses. We did the screen test. Angie gave it her very best shot but anyone looking at it honestly would have given up — if only because they loved Angie enough not to subject her to work she couldn’t possibly do justice to. Still, Stallone wouldn’t be happy on his movie if Angie wasn’t cast in ours. WTF!
We cast Angie. She really, REALLY is a terrific human being who deserved to be treated with respect — a thing her fiancé did not have for her. From the time she arrived in Vancouver — toward the end of formal prep — Angie would travel down to Seattle on the weekends to be with Sly. But, when we started shooting, Sly’s assistant called our production office and asked if there wasn’t some way we couldn’t “HOLD ONTO ANGIE” for the next couple of weekends.
Wait, what? “Hold ONTO Angie”? Why? No reason was offered. Just — Sly would like it if we could. Well, as there was 1) no justification to hold Angie for the weekend and, 2) even trickier, nothing for us to have her do instead of traveling, we declined. I mean, seriously — what did they expect us to tell Angie? “No, you can’t leave Vancouver cos you have to study your lines in this genius piece of crap script?”
On the plus side, Angie NOT visiting Sly meant she wasn’t coming back to our set with Angie’s lines rewritten (by Sly) and every bit of her performance already directed — again, by Sly.
Shortly thereafter, we heard some stories from the “Assassins” set that suggested exactly “why” Stallone wanted Angie on the Canadian side of the border. I cannot vouch for the following story’s veracity. It’s a great story nonetheless — and we heard it FROM the “Assassins” set. Stallone finishes a shot and returns to his trailer where a “pretty young thing” is waiting for him. Stallone doesn’t know that his wireless mic is still LIVE, still broadcasting back to the sound cart on the set. As the crew begin to gather around the sound cart, they’re treated to Very Famous Actor Sly Stallone having sex. Stallone, it turns out, has a few preferences (who doesn’t?) “That’s it, that’s it,” Stallone is heard saying, “Cup the balls… cup the balls!” There are a few “Stroke the shaft” thrown in, but what gets the whole crew laughing is “Cup the balls”.
The next morning, we were told, Stallone walked onto the “Assassins” set to find EVERYONE on the crew wearing the same t-shirt that read across its front “Cup The Balls”.
Did it really happen? I don’t know. But, I sure as hell hope it did.
It sucks to be a shithead’s co-conspirator. Toward the middle of the shoot, I needed to get away for a few days and arranged to fly down to LA to hang with my wife. Flying on other peoples’ dime is the best! As I settled into my first class seat — the section’s only passenger for that flight — and a drink was put into my hand while we waited to taxi from the gate — I felt a little of the stress begin to ameliorate. We were waiting, it turned out, for one last passenger to make it through the jetway. Finally, she did: Angie. She, too was flying home for the weekend.
Now, let’s be real — when a woman as statuesque and stunning as Angie Everheart greets you in a public space the way Angie greeted me, that should make a male glow from the inside. The whole rest of the world thinks beautiful women like you. For some reason, that matters. And, under most circumstances, getting to spend some quality face time with Angie (who’s actually very smart), talking about work but also about life — that would have been awesome. But, Angie sensed something was wrong with her relationship with Sly. She spent the entire three hour flight talking about Sly — how much she loved him. How excited she was for their future together.
And there I sat the entire time, knowing and thinking what a rat bastard Stallone was for cheating on her so relentlessly, so openly. So disrespectfully.
We finally got to LA, Angie and I said “See you Monday back in Vancouver!” and went our separate ways.
A few weeks later, Sly formally broke it off with Angie. I think Sly’s assistant called her to tell her. And my actress — not up to the part to begin with, having been cast only because Sly insisted — now had to be coaxed from her trailer because she was rightfully depressed.
Think of what actually happened here: Stallone wanted to break his engagement to Angie but didn’t have the courage to tell her to her face and then used US as a kind of mental “consolation prize” that HE had procured for HER.
I’ve always known that Stallone was a conservative. It’s neither here nor there to me. Don’t bring that crap onto my film set though. And do NOT infect my film set with it.
Stallone’s problem isn’t his conservatism, it’s that he’s a greedy, selfish pig who seeks approval from and community with other greedy, selfish pigs. If I was going to make a movie about greedy, selfish pigs — I’d know who to cast.
And now? I’ll even know where to find him…